Dammit all, I don't care who he's with - you bloody well put him on the line!

A large (to say the least) phone bill and a broken desk chair results in a very broken keyboard (and a sore hand).

The Tallest Man on Earth - a live review

The Electric Ballroom, Camden Town - 24th November 2010.

Comparisons to Bob Dylan always grate on Swedish folk musician Kristian Matsson, who plays under the moniker The Tallest Man on Earth. It is easy to see why he is constantly compared to the legendary folkster though, for tonight at the Electric Ballroom his vocal delivery is spookily reminiscent of Dylan in his prime.

Yet, it should not be so that TTMOE is compared to one single artist with such regularity, for his intricate clawhammer fingerstyle is in the league of guitar gods Bert Jansch and John Renbourn, and the structure and delivery of his songs is borne from the folk glory years of when such names were at their peak.

The Electric Ballroom in Camden Town is full to the brim tonight, much to my dismay. Alas, I cannot get anywhere near close enough to the man I’ve been following and emulating in my own songwriting for so long. I think myself lucky that I’ve brought a competent photographer along who has the chance to take close-up snaps of Matsson from the pit, which sits merely feet away from his feet.

However, I’m delighted with Matsson’s performance from the start. It’s hard to imagine a ‘greatest hits’ set from a relatively unknown Swedish artist who has only two albums to his name, but this man is pulling it off nicely. In a room no bigger than your average nightclub, TTMOE’s poignant vocals are filling the air with eerie authority and precision. Precision is something that is crucial to this man’s live show; he is merely one man and a guitar which means he has a lot of room to fill. I needn’t worry however, as his obvious Americana-folk-influenced guitarwork is as precise as it is spellbinding. It’s his trademark; he really is the Cristiano Ronaldo of the guitar world.

TTMOE hits me with instant classics ‘The Burden of Tomorrow’ and ‘The Gardener’. His style of songwriting shows a constant re-enchantment with sixties folk music and every unforgettable number is so completely and effortlessly hook-driven that it becomes familiar to you upon the very first listen. The crowd is going wild for this man, and rightly so.

Other standout tracks include the hair-raising ‘A Thousand Ways’ and the flag-waving ‘King of Spain’. This man is quickly becoming a phenomenon on the folk-circuit. Class always prevails, and with two albums already under his belt and another in the mixer, his ability alone stands tall and will gain him wider recognition in the future. No pun intended. Obvious comparisons aside, The Tallest Man on Earth certainly has his own signature, and excels in a genre where so many before him have failed. Not to be missed.

http://www.myspace.com/thetallestmanonearth

Photographs by the little round-headed chump that is Michael Rampton.

Today's activities:

1. Sent R a lovely email. (at 2am approx)
2. Got up groggy.
3. Went to uni for tutorial.
4. Needed to make changes - gutted.
5. Spent £15 on medicine for this darned bug.
6. Spent the rest of the day re-writing my entire essay as per point 4. Changed many points on the importance of New Age Travellers to the demise of the Free Festival scene in the 1980s.
7. Although, day was broken up by phonecalls to R which helped :)
8. Paul Ward then told me that my poo is like golden logs of mystery.
9. Then practiced HARD for headline show on monday @ The Lights:

http://www.facebook.com/event.php?eid=100150970058899

What a lifestyle I lead, I bet all you cunts are jealous?

Also - news of Karl Pilkington being an agony aunt in the new podcast series is certainly great food for thought. What a round-headed moron.

Then took a look out the window and saw this:




Lovely.

Oh and being told by someone random that your album is the best album they've heard all year is a feeling that I'll never get used to - but amazing nonetheless.

The Widowmaker - new album song titles.

Right, this is an absolute exclusive. Here are the song titles for the new Widowmaker album, due for release in 2011.

These are NOT in the order they will appear on the album:

All This Time

The Number Seven

Things

Go Quietly

Brokenheartedness

Tell Me To Stay

I Better Put You Down

Two Pence Piece

Leave It Out

The Wolf

26 Palms

So there you have it :)

Landlords/Ladies.

Why do I pay £350 per month rent when I don't even get supplied central heating and when I have the audacity to ask my landlady about it, she replys 'you'll have to call the gas board'.

Errrrm:

Dear Wicked Witch of the West,

Despite your actions to try to get me to call, I feel it encumbered upon me to remind you of your duties, considering you receive well over £1200 per month in rent from this house. A 4 minute phone call to the gas board shouldn't be out of the question.

Failing that, it is also a 5 minute ride on your broom.

Regards
Your loving tenant.

Ian Easton

The Tallest Man on Earth

...was amazing by the way. A review and pics to follow, but here's a sneak preview.

http://sphotos.ak.fbcdn.net/hphotos-ak-snc4/hs964.snc4/75761_466360844222_511699222_5363779_4843863_n.jpg

Gosh I'm so good to you people.

And...breathe.

In an effort to remain calm, I've been attempting breathing exercises throughout the day. However this genius plan was scuppered yesterday when I woke up with what can only be described as a 'stinking cold'. This subsequently moved to my chest and now I can barely breathe. My poor young (27 years old is still young for these little fellas) sinuses are packed with bug, and said bug is making my stress-relieving exercises redundant!!

Of course, I don't actually do breathing exercises, but if I did then i'd be screwed.

Things are rather hectic for me currently. I have what seems like an ever-growing and evolving amount of university work hanging over my head, ready to drop at any given second. With that, I am working at The Sound on mondays, and also writing songs with Dan for the new Widowmaker album (title yet to be decided).

Dan and I are also discussing ideas for new promo shots. I was thinking something along the lines of this:

http://t1.gstatic.com/images?q=tbn:ANd9GcTsYufNFQA3u7MY20Sf7DgUgWSCoDb4Me_LWIVJHY5v9hOEpEHS

Alas, I jest of course. I came up with the idea of something along the lines of this, to which Dan agreed:

http://www.fredrickboling.com/wildbnch.gif

Obviously with our instruments. But I love how the subjects in those pics always look shocked or scared and the glazed look their eyes have. So maybe something like that, with our instruments (banjo and boots included) surrounding us.

Who knows.

Also, did anyone hear about MC Hammer making a comeback? These new dinosaur comebacks are really getting out of hand:

http://sphotos.ak.fbcdn.net/hphotos-ak-snc4/hs1149.snc4/149161_10150320231125096_586505095_16333257_3876143_n.jpg

There is still hope for me yet.

The Libertines - Reading Festival 2010

After the booing-bonanza that was the Guns ‘n’ Roses set on the Friday night of Reading Festival 2010, there is only one band name on every festival-goers lips – and it isn’t Arcade Fire. A certain hushed sense of anticipation begins to twirl and forge its way from the ground of the site as the giant L-shaped elephant in the room looms. In an era of rock-comebacks, comes the most anticipated of all – at last, The Libertines are coming. After so many no-shows, arguments over who-wrote-what, tabloid tales and rumours, they are finally here. To the rising red curtain of their first-album’s artwork and Vera Lynn’s ‘We’ll meet again’, The Libertines swagger onstage on time, after the heart-warming and nostalgic appetiser that is the big-screen slide show of the band’s heyday.

Then, as cool as you like, Pete Doherty, Carl Barat, John Hassell and Gary Powell throw themselves straight into the opener, ‘Horrorshow’. How apt indeed. One thing is for certain, The Libertines sound tighter than ever before. The band’s secret rehearsals seem to have paid off, and we begin to see something shine through that transcends the entire shambolic history of the band – the music.

And as if by magic, we begin to see and hear the heritage of The Libertines. Pete and Carl slip into their roles like an old glove, and we behold what all the fuss was about in the first place. We see the unabashed way they stare into each other’s eyes as they share the microphone á la Lennon/McCartney. We hear the vital and immediate thrash of duo guitars and bouncing rhythms and counter rhythms as the two duel against each other onstage, as brothers in arms. We see the head-bopping and hear the shoop-shooping of old, as the band hurl themselves shamelessly into a greatest hits set, and the crowd bellow every word, for there is not an unknown song here – this could possibly be the greatest sing-along of our generation.

Perhaps the loudest sing-along is the perfectly-timed ‘What Became of the Likely Lads’, and we witness just that. Here they are, in front of our eyes playing the songs of Albion. Other standout tracks are the obvious ‘Can’t Stand Me Now’, ‘Time For Heroes’ (which is stopped midway through due to a crowd crush) ‘Death on the Stairs’ and ‘Up The Bracket’. Throughout the set, Doherty seems remarkably lucid, and it’s Barat who seems the more nervous out of the two. Nevertheless, The Libertines pulled off what no-one ever thought they would. When their backs were against the wall, they came, triumphed, conquered and stole the weekend from under the noses of Arcade Fire, of whom prior to the show, lead singer Win Butler asked ‘Liber-who?’ – What a divvy.

Ian Easton

Laura Marling - I Speak Because I Can, album review

Not just a mere progression from Alas, I Cannot Swim, Miss Marling’s new offering I Speak Because I Can boasts a slightly more frequent display of poignancy. With many production techniques being taken from boyfriend Marcus Mumford’s neck of the woods, Marling leads her more mature vocals through a far wider range of folk inspired meanderings. If the question ever loomed that this girl was a flash in the pan, then let this album answer that question abruptly. The album serenades you through a list of songs; some seen before on previous EPs – ‘Rambling Man’, ‘Blackberry Stone’, ‘Maid By Maid’ and ‘Alpha shallows’. All are far more upbeat and bordering on euphoric in this new recording, these are a wonderful set of new renditions, which were much needed.

However it’s been a while since Marling’s first offering of a record, and the lack of tracks here makes you question what’s taken her so long. Although all ten songs are superbly crafted efforts, it does beg the question that there may be more in Marling’s armoury in terms of prolific song writing. There are talks in the air of a third album before the turn of the year, and perhaps she is saving herself, not wanting to peak too early. The highlight of the album is undoubtedly the haunting and spine-tingling ‘Alpha Shallows’. This track, along with ‘Hope in the Air’ is serious business and the bastard twin of debut album’s ‘Night Terror’ and ‘The Captain and the Hourglass’. This long-awaited album needed these songs, as they bring the whole record beautifully to life with an intensity that is not to be seen on any other track here.

Although short, I Speak Because I Can is a mature and solid second effort from the reigning queen of folk. In fact, it could be said that she has succeeded in reinforcing that title for the 2010 year. There are obvious influences from close touring partners, but what would a 20 year old Marling be, if not easily influenced by peers? Despite perhaps not having the massive impact of her debut album, I Speak Because I Can may just be a case of giving us what we have become used to with Laura Marling, for this is a grand effort from a truly wonderfully talented young songwriter.

7/10

The Tallest Man on Earth

The Wild Hunt – album review

Dylan, Dylan, Dylan. That’s all you hear these days when a new folk artist arises from the undergrowth. The truth is, very few of those comparisons are worth the backslapping or the hospital. Swedish-born Kristian Matsson aka The Tallest Man on Earth may be one of the few folk artists bursting with raw talent who actually blow away the cobwebs and live up to the hype. Dylan never had this effortless ability on guitar, did he?

Bursting with Americana-influenced meanderings, TTMOE’s second album, The Wild Hunt, is so full of refreshing hooks that you could sit listening to him and his guitar, in a 1960s time warp, for hours on end. You never even get bored or even want to compare him to any other artists, past or present.

Following up on his acclaimed debut album, Shallow Grave, Matsson could have been forgiven for becoming complacent. Shallow Grave was such a superbly crafted collection of high quality songs, one might think there may be some filler left over for the recording of The Wild Hunt. Not the case. This album is full of – dare I say it – an even more rounded and well-chosen set of tracks. Stand out songs include the brisk ‘Burden of Tomorrow’, the endlessly summers ‘Drying of the Lawns’ and the head-nodding ‘King of Spain’.

Who thought a recording of one man and a guitar could hold your attention for so long, could be so exciting. It’s a testament to this man’s ability, voice and never-waiving ear for a standout song. Buy this album.

4/5

Band of Skulls - Live at the Talking Heads, Southampton

After a whirlwind year of near-constant touring, Band of Skulls return to their native Southampton as conquering heroes, whilst throwing in a blistering show for good measure.

So, the time so many people have been waiting for has arrived. Band of Skulls are back in their native hometown - back where it all started. Yet, before the nostalgic Talking Heads becomes inevitably packed to the rafters, Audio Addict has the exclusive pleasure to watch them sound check, and have a beer and a chat with them to boot. Let us tell you one thing– these guys have a special aura about them, they are the real deal. “That sounded good, but we don’t want to peak too soon, this is a big gig for us” says Russell Marsden of the sound check, walking into the dressing room, visibly animated and excited by the prospect of this evening’s coming events.

Having gone from playing club nights in their hometown to touring America, with a few gigs in Moscow and Tokyo in between, the music of Band of Skulls has travelled from Southampton to iTunes at breakneck speed. The hook-driven “I Know What I Am” was single of the week on iTunes in April 2009, and exposure of their track “Friends” on the Twilight saga’s New Moon soundtrack has also helped things along nicely. You could say it has been a good year for the band. They return to their hometown as conquering heroes, exhibits of fame and fortune to the lesser privileged, proof that local bands really do make it into the big time.

Having confessed to playing the Talking Heads “Over a hundred times”, the band return to their first ever and favourite venue, yet are still humble enough to hang with old friends and acquaintances before the show. “We’ve been touring now for a whole year, playing out almost every night.” explains bassist Emma Richardson before the show. “I think we’ve had about 2 weeks off in total since last April including Christmas, so it’s been a pretty hectic year for us.” Guitarist Russell Marsden continues, “This feels like the end of the tour because we’re back in town. But no, tomorrow we’re back off again, we’ve pretty much moved into our suitcases. But it’s good for a band to do that, because touring so constantly and playing in so many different countries has given us a chance to get our show together and make it work consistently.”
With three songwriters in the band, BOS have access to endless melodic possibilities, and their album and honed live show sure is an exhibition of that fact. “We all write separately, and the rule is that we’re not allowed to finish a piece of work until we’ve all had our say on it,” explains drummer Matt Hayward. Emma continues, “We have quite a healthy competition between us; we all kind of want to outdo each other in the song writing stakes.” Russell finishes, “Often it’s the case that I’ll write a song, and Matt will completely strip it back, steal the intro, and write another song with it. I think that it’s good that we are able to bow down to the better ideas.” Their live repertoire certainly shows off this fact – as each song is crammed with hooks lush harmonic overtones, we feel like we are dragged back in time on the end of every blues lick, every warm valve-overdriven chord, and it’s a pleasure.

As for the show itself, wow. Never before have we witnessed such unashamed support from local bodies, never before have I experienced such anticipation before a gig in Southampton. With steam rising from the audience, tonight this is the place to be - the atmosphere is electric as the guys take to the stage, and from the first track it’s clear that they mean business. However, it’s not a case of gloating, mutual backslapping and showcasing what they’ve become - Band of Skulls simply let their airtight live show do the talking, they just simply let rip, no holds barred. It is pure Rock ‘n’ Roll. Raw, badass, sexy, and melodic. At times it’s euphoric and powerful foot-stomping bliss; at others it’s whimsical and unkempt. At all times it’s brilliant, with the duo vocals from Russell and Emma reaching some spine-tingling moments in standout tracks “Fires”, “Patterns”, “I Know What I Am” and “Honest”.

Band of Skulls repertoire reads like a who’s-who of classic rock/alternative influence, yet each live song is wax-stamped with their own unique identity and a modern twist. This is certainly one to lock away in the memory bank. As the deafening gig winds to a boiling close, the cauldron that the Talking Heads has become is awash with exultant shouts of “We did it! We did it!” from friends in the front row –they are right, Band of Skulls did it, and they did it with style.
4/5

Age Against The Machine

Simon and his evil empire have fallen at the knees of the Rage Against the Machine’s internet viral campaign. However, what does this tell us about mass conformism in this post-modern musical age?

Word of mouth can be an inspiring thing; that’s the lesson being broadcast to the nation via the internet from its most recent cult counterculture. Said counterculture started an online sensation on Facebook a month ago in the form of an internet viral campaign looking to beat X Factor to the Christmas number 1 spot. The now infamous Facebook group titled RAGE AGAINST THE MACHINE FOR CHRISTMAS NO.1 eventually gathered enough speed to topple winner Joe McElderry’s efforts at an X Factor Christmas number 1. Currently sporting a staggering 996, 589 members, the group promoted the online purchase of a secret weapon; Rage Against the Machine’s 1992 hit ‘Killing in the Name’. Very fitting.

Although as the words ‘Fuck you, I won’t do what you tell me’ blast out of the majority of people’s shiny and new iPod docking stations this Christmas, don’t be surprised if this success story leaves a slightly bitter aftertaste. Why? Well, for one thing, the question lingers as to whether all this mass anti-establishment hysteria has created in itself another monster: A large quantity of humans revolting against Cowell’s pop machine, by...conforming. Now, conforming against conformism is rather post-modern, I’m sure you’ll agree. I’m all for giving a too-smug Cowell a festive kick in the crown jewels, but is what we’re doing right, just to prove a point? To some of you, the whole debacle may raise all sorts of underlying questions on morality and principles. To others, you might not give two hoots – you may just be happy to have ‘shown the world that we DO have a voice!’

One question: Should our individual and sacred musical tastes be open to utilitarian or democratic referendum? Granted, we collectively made a hard-hitting political song
Number 1 with a budget of zero, however if we are not careful we may end up with the X Factor again; something to please the masses. Because that’s what this is really all about – pleasing the masses. With a victory over the X Factor musical factory, we appear to have made a small stand against the commercial machine. However, it may be hard to divorce ourselves from the morality of what we have done. That coupled with conspiracy theories suggesting that the online campaign organised by Jon and Tracy Morter was actually a marketing scheme cooked up by Sony Records to dominate the chart raises questions on who is driving who.

As an afterthought - McElderry has now bagged the New Year’s Number 1 spot. His effort sold 196,000 copies in its second week, compared with 69,000 copies shifted by Killing In The Name, which slipped to second. So were we postponing the inevitable, and if so, was there any point? I’ll let you be the judges of that. Get it? X Factor – judges? Sigh...